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You people are weird. If I see 7alt what makes you think I'd play a 9 or a straight 13? Weird. None of my dom voicings have the 5 in them anyway.
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05-07-2024 12:17 PM
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The 7th is a Bb not a B.
There is no (natural) 13 (A). the #5 and the b13 is the same note. (Same with #11 and b5.)
I wrote this previously:
How Galt is usually taught is that you can pick one out of these four: G7b9#11, G7#9#11, G7b9b13, G7#9b13.
There is debate among jazz musicians and educator on whether people prefer b5 and #5 or #11 and b13, and whether they mean the same thing or different things.
I am sure there are multiple threads on this forum which beat that horse to death.
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The melody is usually the key because chord symbols generally reflect it.
In Goodbye the first two bars are Eb Eb C D C which is Ab7. The next two are Eb Eb F Eb D which is G7, altered to G7+. The pick-up to the Dm is C C C over A7, altered to - wait for it - A7#9.
It's often that simple. And I'm quite sure we all know that.
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I would say I've made a big mess instead of a clear argument. Let me try again.
The arranger/composer should only give extensions they think they are essential to the tune.
The Alt symbol, meaning 4 different groups of extensions, does not serve this purpose, so I do not like it.
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If someone writes an alt chord, all 4 possible options should work (but not if you're playing with another harmony instrument, which goes for another option).
If you're alone and have time, try several, listen and select the one you like the best.
If you're not alone and don't want to waste other people's time, just play a 7 chord (without any 5th or 9)
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I am satisfied.
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Imho 7alt is the least ambiguous of them all. It clearly states that it is a dominant, the alt scale is required to construct it.
When it's written as plain 7, then it gets messy. Or 7#5 or something. Because the scale is not defined then. And what you play may conflict with other people's opinions on the spot.
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Jazz is not dessert. Jazz is heavy half-cooked beef.
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